This is Osami Mizuno's Official Web Site.
Osami Mizuno (Drums & Percussion instruments)

Official website:
Director of SHOOTINGSTAR STUDIO Manager of Music & Environment Division, Office Mizuno

Osami Mizuno was blown away by Tony Williams's overwhelming power and virtuosity, and went on to Berklee College of Music to study with legendary mentor/drummer Alan Dawson, who had taught Tony Williams. After returning to Japan he played with many musicians from various genres. While performing as a drummer, he established the Alan Dawson Drum School with the permission of Florence Dawson, in order to pass on Alan Dawson's method to younger drummers. Since then our mentor Alan Dawson gave us master classes every time he came to Japan. On September 2, 1986, the great Tony Williams gave us a special drum clinic. Subsequently, many of Osami's close friends such as Steve Smith, Harvey Mason, John Blackwell, and Billy Hart gave special master classes. On November 23, 2003, Osami held a "Tribute to Ron Spagnardi & Taku Kawai" with a special solo performance by Horacio "El Negro" Hernandez. In 2002 he established the Dawsonisms School Division based on the Alan Dawson Drum School in Japan, and in 2004 launched the Dawsonisms Label Division (now known as the Office Mizuno label). In 2005 Osami released his first solo CD, "TENMA". It received a "4 drum set" rating from Modern Drummer Magazine where they said, "Through the diversity of this album, Mizuno shows his mastery and sensitivity as a drummer."

Alan Dawson Drum Method, Vol. 1 (Ongaku-no-Tomo Sha, 1998)
Alan Dawson Drum Method, Vol. 2 (Ongaku-no-Tomo Sha, 1999: contribution by Steve Smith)
Osami also contributed a "Rudimental Symposium" column to Modern Drummer magazine (April to July, 2001); founder & chief editor Ron Spagnardi, who was also one of Alan's students, gave him the wonderful name "Dawsonisms."
Vinnie and I first talked about making an instruction book about this Superimposed Metric Mudilation 4 years ago. And now (at last!) here it is!!

The book
"Illusions in Rhythm for Drum set"

>>click here

He has endorsed TAMA Drums, PAISTE Cymbals, and PRO-MARK Drumsticks exclusively. Also under the auspices of SHURE Microphones,

Percussive Arts Society
in the 'April' issue of Percussive Notes.

'Illusions in Rhythm for Drum Set' by Osami Mizuno
Difficulty Rating Scale: Advanced
Publisher: Osami Office

Drumset players looking for a challenge will certainly find one in this new book by Osami Mizuno in collaboration with Vinnie Colaiuta. Illusions in Rhythm is really all about developing the ability to perform hemiolas and superimpose them over other rhythms. As Mizuno makes clear, the concepts and exercises were inspired by his study with Alan Dawson as well as his exposure to Tony Williams.
The exercises begin with simple hemiola groupings, such as grouping triplets into groups of four notes and moving them across the barline. Five-and seven-note groupings are also explored. Soon, more complex combinations are presented in various musical contexts. The concepts are applied to several different styles including swing, samba, shuffle and rock/funk grooves. All the exercises are written in a clear format that shows how all the notes line up.
This book is for serious drummers who desire to add a new dimension to their playing. As with all good drumset books, it is open-ended so students can further develop the concepts and techniques.
------------------Tom Morgan



Japanese drummer/educator Osami Mizuno credits Alan Dawson, Tony Williams, and Vinnie Colaiuta (Vinnie also collaborated and contributed to this book) as his inspiration for this 83-page collection of advanced drumset exercises based on teachings of Dawson and advancing into Colaiuta's concepts of " Superimposed Metric Modulation." The idea is to layer one pulse, or time feel, on top of an existing pulse to create the illusion of the time shifting, or creating an imaginary change in time signatures.
The exercises (mostly rock, Latin, and shuffle) are well written and fairly well explained, but such advanced concepts really need a sound reference (CD, DVD, etc.) to fully grasp the complex rhythms. As is, this book would be best studied with the help of a knowledgeable private instructor. ( Mike Haid

DRUMHEAD May - June 2007

Illusions in Rhythm for Drum Set
- Osami Mizuno
In collaboration with Vinnie Colaiuta

Four years after talking about writing
this book together, Osami Mizuno,
in collaboration with Vinnie Colaiuta,
has written an instructional book on
"Superimposed Metric Modulation. "Osami explains the method and idea for the book this way:
Superimposed Metric Modulation was a new drumming method introduced by an industry magazine for American percussion by Vinnie Colaiuta, who has been one of my best friends since we both studied with Alan Dawson in the mid 70s.
Soon after, he came to Japan and demonstrated this method using a sequencer. But at that time most of the people couldn't understand what he was doing. Briefly, Superimposed Metric Modulation is a kind of "key change" in rhythms. Modulation is quite common for melody instrument players, but it's not for drummers…..maybe you can say it's avant-garde. But in fact, this concept originally came from great jazz innovators such as "Papa" Jo Jones, Max Roach, and our hero Tony Williams.
To make it his own method, Vinnie made this concept more rock-friendly. Today more and more drummers such as Steve Smith, Virgil Donati and Horacio"El Negro"Hernandez are using this concept. That means the "key change" in rhythms is no longer a maniac technique, and is now becoming popular among durmmers.
---- To order : ---

DH: Osami Mizuno has done it !
Illusions in Rhythm for Drum Set is actually very easy to understand and follow.He takes away much of the mystery of metric modulations and superimposed rhythms, making them less firghtening and more approachable than ever.
Absolutely worth it's very reasonable price.


"Drummer / leader Osami Mizuno,
based in Japan, is a seriously accomplished
drummer who studied under Alan Dawson. This CD takes on a personal tone, as each composition is themed and dedicated to someone. While this approach does create a lack of consistency for the album overall, this is minor
concern when hearing the music. The compositions here mix adventurous jazz
and jazz/rock with the intereting perspective of traditional Japanese
music, which really adds something special.
As for Mizuno, swirling brushes, stately rolling cymbals, and an intense
drum solo show his talent. Through the diversity of this album, Mizuno shows
his mastery and sensitivity as a drummer."

By Martin Patmos


Osami Mizuno

With this album TENMA, I have tried to create a borderless world based on
the traditions of different cultures, by collaborating with great musicians
from around the world. The various musical elements have been modified and
blended with care, in an attempt to achieve a result that is new and
I hope you enjoy it.

Alan & I

Mr. Alan Dawson will always be remembered not only for histalent, but for the skills he has taught to drummers of today.
Alan Dawson was born on July 14, 1929 in Marietta, Pennsylvania. Alan had recorded with such greats as Booker Ervin, Dave Brubeck,Lionel Hampton, Quincy Jones, George Benson, Clifford Brown,Jaki Byard, and many more. He had traveled extensively in Japan,as well as to Europe, Australia, and throughout Asia. In 1957, he started his teaching career at The Berklee College of Music and had taught for over 18 years. In 1975, Alan had injured himself by rupturing a his disc in his back and had required surgery. He had stopped his teaching career at Berkee and continued teaching from his home.
His teaching method is legendary and was considered a fruit from his actual playing experience in the field of education. By solving concerns and personal problems in drumming, which had affected almost over 70% of drummers, this was resolved by following hiscore teaching called the "Alan Dawson Technique."

When he went on concert tours in Japan, as a member of the100 Golden Fingers Concert and Great Jazz Trio, he spent his private time giving lessons. Right before departing for Japanin May 1995, he learned that he had leukemia. After a longstruggle with this disease, he died of leukemia at home onFebruary 23, 1996 at the age of 66.

It always made me wonder what made him always have thisperpetual smile. What made him always so happy and glad? Fighting through his illness for an extended period of timewith medication, he said that he kept on saying, "This could have helped Mr. Shelly Manne."

Alan taught Tony Williams, Keith Copeland, Steve Smith,Harvey Mason, Vinnie Colaiuta, John Robinson,Kenny Aronoff, and many, many others.